Hellraiser

Hellraiser

Released: 1987

MPAA Rating: R

Genre: Demonic/Occult

Nuts and Bolts: Frank Cotton wanted to experience the ultimate boundaries of bodily sensation. His journey leads him on a path that opens the doorway to Hell. But Frank escapes Hell’s fury and the ghastly Cenobites have breached the doorway in an effort to get Frank back.

Summary: An American named Frank Cotton is in a small darkened restaurant in an undisclosed foreign country. He places several straps of moldy hundred dollar bills on a table before an old man who sells him a strange ornate looking puzzle box. The box is perfectly square with gold filigree designs interlaced across its contours. Frank returns to his old family home with the box and sets himself inside of an empty attic room to contemplate the puzzle. Several inter-locking pieces of the box slide and move until finally settling down into a specified pattern. The room grows cold and several lengths of hooked chain shoot out from the eye of the box piercing Frank’s skin. The puzzle box has opened a doorway to Hell. Hell’s champions, the Cenobites enter the room and collect Frank’s soul. His corporeal remains are bisected and nailed to a rotating wooden pillar. The lead Cenobite, Pinhead reverses the configuration of the puzzle box and closes the doorway.

Some time later we find Frank’s brother Larry. Larry and his wife Julia have moved from Brooklyn into the old Cotton family home. The two are struggling through a failing marriage and Larry believes the change in venue will help to give each of them a fresh start. Larry begins puttering around downstairs while Julia approaches the second floor. We learn at this time that brother Frank has quite a sordid reputation and has been known to travel the world in search of dark misadventures. There is evidence in the house of Frank’s habitation. Larry finds a plate of maggot-ridden food in the kitchen. Julia finds a damp upstairs bedroom containing an old mattress and several of Frank’s old possessions.

It is here that we learn a little bit of back-story on the Cottons. Apparently, Julia first met Frank the week of her wedding to Larry. Although Larry never knew, the two had a twisted affair with one another in the attic room. Julia contemplates this for a while before finding several old photographs of Frank with other women (including her). She tears the pictures up so Larry doesn’t see them.

The following Sunday, the Cottons begin to clean up and move into the house. Larry’s daughter Kirsty telephones him and tells her father that she is renting a room nearby. (Kirsty is Larry’s daughter from a previous marriage. Julia and she never got along) Larry tries to convince Kirsty to live with Julia and he but the young girl is adamant against living with Julia. She agrees however to come over to help with the move.

A couple of movers are vainly trying to squeeze a large mattress through the front door and up the first floor landing. Larry struggles to help them and ultimately tears his hand open across an exposed nail. Larry is very squeamish at the site of blood and he races upstairs to find Julia. Julia meanwhile is in the attic room where Frank died. She is reminiscing of their affair as her husband bursts into the room. A large drop of blood spills from Larry’s hand and splatters across the floorboards. It lands in the exact spot where Frank solved the puzzle box. Julia rushes him to the hospital to get stitches.

Now apparently the blood of Larry has a strange and unpredicted affect. It mingles with some of the human detritus left behind by Frank and succeeds in slowly regenerating him. We see him begin as a pulsating heart beneath the floorboards that grows into a gruesome half-formed man thing that is barely recognizable as being human.

Later that evening, Larry hosts a dinner party. He regales his guests with the story of his misadventures at the hospital. Kirsty is present and takes a liking to a young boy named Steve. Steve impresses Kirsty by doing some weird trick with a cigarette. Julia is suitably unimpressed with Larry’s pontificating and decides to retire. She goes up into the attic where she finds the mushy remains of the resurrected Frank Cotton. Frank scares the hell out of her until he convinces her of who he actually is. Julia doesn’t understand what has happened to him but Frank is convinced that blood is the key that will revitalize him. Every little drop makes him more human. He commands Julia to help make him whole again.

Now we have some superficial scenes to help flesh out the character of Kirsty. Kirsty and boy toy Steve drunkenly walk home from Larry’s. An ugly looking homeless man with a long beard and dark eyes watches them. The two begin to make out at a subway station and eventually end up back at Kirsty’s flat. (Kirsty and Steve that is, not the homeless man.) Kirsty later has a bad dream concerning her father and calls him up to make sure he is okay.

The following day, Larry is at work leaving Julia at home to nurse the invalid Frank. She decides to go out to a single’s bar in order to bring home a victim. Julia picks up a ‘John’ and returns home with him. She takes him up to the attic under the pretense of a sexual escapade. But once they enter the room she brains him with a hammer and the guy drops like a ton of bricks. Frank’s little flipper body scuttles out and partakes of the man’s vitals. (Although it’s never really shown, I assume consumption is the key to resurrection here.) Julia is disgusted by what she has done and goes to the bathroom to wash the blood off her hands. When she returns she finds that Frank is more formed and capable of walking. By this point, he is much more human looking and appears similar to those cut-away diagrams of the human body that are peppered throughout most college biology books. But he still needs more. Julia reluctantly agrees to continue helping him. Larry returns home from work, just as Julia hides the body in a different unused room in the house.

Now we cut to the day after that. We see Kirsty working at the pet store. The creepy homeless guy comes in and begins chomping down on handfuls of crickets. Ummm…okay. Whatever.

Anyway, while creepy homeless dude is making a Jiminy protein shake, let’s cut back to that bitch Julia. Julia is whoring down at the local single’s bar again. She finds lonely penis #2 and brings him back to the Cotton house. Different victim, same results. She cracks him across his brainpan with a mallet and feeds him to Frank. Julia is starting to get the hang of this whole murder thing. She has a much easier time dealing with it and a small part of her almost seems to be enjoying it. Frank now explains what happened to him to Julia. He shows her the box and tells her how he solved its riddle and opened a doorway to Hell. He goes on about the Cenobites and details how they took his body to new extremes of perversities and pain that he never could experience in the normal world.

Later that day, husband Larry and Julia are watching a boxing match. Larry is surprised that Julia isn’t repulsed by the sport. She used to hate violent spectacles such as boxing. But I guess after spending the day whacking two sods across the bean with the business end of a claw hammer, a Mike Tyson match proves to be about as gruesome as an episode of Teletubbies. Now as they continue watching TV, Frank begins going apeshit upstairs. His nerve endings are starting to grow back and it’s driving him insane. He pounds on the walls and the excess noise alerts Larry. Larry gets up to investigate but Julia tries to distract him. (After all, she KNOWS what’s making the noise and certainly doesn’t want her husband to find out that she’s conspiring to resurrect his late brother whom she likes to fuck by sacrificing the blood of innocents. It would spoil Holidays to say the least.)

So Larry takes off upstairs. Julia tries to divert him and realizes that the only way to keep him from going into the attic room is by seducing him. She plants a big ole smooch on Larry and the two go into their bedroom. While in the middle of lovemaking, Julia realizes that Frank had moved from the attic room and was hiding in the closet in the bedroom. He has a knife and plans on killing Larry with it. Julia screams, “No!” and Frank demonstrates his dominance over her by skinning a rat next to the bed of the copulating couple. Larry is truly Captain Oblivious here. He thinks that Julia screaming “No!” is in reference to him. The two stop and Frank stealthily leaves the room.

The next day Larry meets Kirsty for lunch at a Chinese restaurant. He can’t understand why he can’t make his marriage work. Once again he tries to convince Kirsty to move into the house with him. The two talk for a while and eventually leave the restaurant.

Now while all this is going on, Julia seduces victim #3. But she gets a little sloppy and Kirsty spots them as they enter the Cotton house. Like the other contestants, Julia takes him to the attic and cracks him with the hammer. Frank takes to him like shit on Velcro and begins slurping up the sweet meats. Kirsty enters the house and finds Frank upstairs. She is completely freaked out and Frank keeps trying to calm her down by saying, “Come to Daddy.” They chase each other around the attic and Kirsty fends him off by ripping out a piece of his gooey innards (Frank is still in that tomato stage of regeneration). During the melee, she comes upon the box. She doesn’t know what it is but its obvious that Frank wants it back from her very badly. She throws it out the attic window on to the street below. Kirsty races downstairs and out the house picking up the box as she leaves.

She is completely drained by this point and has a difficult time understanding the events that have taken place. She finally collapses from exhaustion and wakes up inside of a hospital room. During her convalescence she begins to tinker with the box. She gets really into and inadvertently solves the puzzle that opens the doorway to Hell. The wall of the hospital cracks open revealing a long otherworldly corridor. Kirsty walks into the passage where she is greeted by a huge hideous creature. This is the engineer and it is responsible for the creation of the Cenobites. The engineer chases Kirsty down the corridor until she passes the breach back into the normal world. Before long, the rest of the Cenobites arrive. The leader is Pinhead who looks exactly like his name describes. There is also the Chatterer who has an oversized mandible, which keeps clacking together. There is also Butterball who is basically Chris Farley with sunglasses. And lastly, there is a nameless female Cenobite who is bald and has a large pin lodged through the bridge of her nose. The Cenobites want to take Kirsty to Hell with them. She finally realizes Frank’s significance in this whole affair and strikes a deal with the Cenobites. If they agree to let her go, she will take them to Frank who has escaped from them. Pinhead is skeptical, as no one has ever escaped from the Cenobites before. But if he hears the confession from Frank himself he will agree to Kirsty’s bargain. The Cenobites fade away and Kirsty is left to leave the hospital.

Meanwhile, Larry has come home from work. Frank is tired of fucking around and decides to take care of Larry. He kills him and skins his body. Larry’s remains are left in the upstairs attic while Frank dons Larry’s face as a mask. The face grows upon Frank’s own features and he is a ‘near’ perfect replica of his brother. Frank and Julia then to commence to the ceremonial post-mortem coitus routine.
Kirsty finally gets to the house and bangs on the door. Julia enters but she pushes past her. She finds her father (Frank) in the nearby study. The fake Larry tells Kirsty that everything is going to be all right. He says that he was forced to kill Frank and that he’s going to explain everything to the police. Kirsty demands to see Frank’s body. Reluctantly, Julia takes her upstairs. Since the body is skinned, she has no reason to believe that this isn’t the same man who attacked her earlier. At this point, the Cenobites arrive at the house. Pinhead points at the body and demands to know who did this. Kirsty doesn’t understand and she runs back downstairs into the arms of her ‘father’. The fake Larry says, “Come to Daddy” and Kirsty now realizes the grisly truth behind what has happened. She tears at Daddy’s face and is shocked to discover how easily the chunks of mask fall away. Frank comes after her with his knife. In trying to stab Kirsty he misses and stabs Julia through the heart. He’s really not too broken up over it though. He drains her of her good stuff and takes her body upstairs. Lying her down on a mattress he leaves the puzzle box in her cold dead fingers. Now its time to take care of that interfering little bitch Kirsty.

The two play round robin across the house again before finally ending up back in that attic room. Kirsty is pretty much stuck and Frank relishes over how he has beaten death. Well this was all that the Cenobites needed to hear. They now know that they have found their man. Barbed chains fire from the walls hooking themselves into Frank’s/Larry’s skin. A large blade comes down from the ceiling slicing a vertical gash across his back. The chains pull taught and the Frank’s new body is literally torn into pieces.

Kirsty flees into the next room and finds Julia’s corpse on the mattress with the puzzle box. She takes the box and runs downstairs. The doorway between Earth and Hell has been open too long and it’s now taken its toll on the Cotton house. The building begins to slowly shake and collapse. Kirsty’s boyfriend Steve shows up and…and…well. I’m really not quite sure WHAT he does. Doesn’t really seem to do fuck all. The Cenobites try to get the box from Kirsty but she uses its energy to spirit the Cenobites away. Even the Engineer shows up again to try and wrestle the box from Kirsty’s control. (Oh yeah! NOW I remember what Steve does. He stands around and gets bitch-slapped by the Engineer. I KNEW there was a reason why this actor collected a paycheck!)

Anyway, the two kids lock the ole Hellmouth™ up for good and the entire house collapses in a blaze of fire. Hours into the night, the house is little more than a pile of smoldering remains. Kirsty and Steve toss the puzzle box into the flames.

Now, remember that creepy old homeless guy? Well, guess who shows up? Yup. This ZZ Top reject shambles along and places his arm into the fire. Collecting the box he transforms into a large skeletal demon. Flapping its wings it flies away with a screech. Apparently the old man was in actuality some puzzle box guardian.

Some time later, we see another poor hapless soul willingly spending good money to buy this puzzle box from a merchant in a restaurant in some foreign land.

Acting/Dialogue: Everything is pretty solid here. The actors really excel when it comes to the little details. It’s wild seeing Andrew Robinson transform from the foppish yuppie Larry Cotton into the slick-witted Frank. Andrew also contributed a lot of improvisational techniques into the Frank aspect of his persona. He is the one who selected Frank’s fabled last words, “Jesus wept.” Clare Higgins is really intense in this as well. She performs a lot through her expressions and I love watching her wrestle between conflicting aspects of her character. She can’t decide whether she wants to be a bitchwhore or a whorebitch. This film also marks the introduction of Ashley Laurence (Kirsty). Ashley plays her role to the hilt and she knows when its time to be the cute teenager and when its time to be aggressive. My favorite scene with her is when she’s in the hospital and she is manipulating the box. Despite having been recently attacked by her skinless uncle, she winds up smiling gleefully over this quizzical little box. It’s a perfect portrayal of showing how seductive the box’s influence can be. Doug Bradley (Pinhead) doesn’t get a lot of screen time, but he dominates what little bit he gets. The audience is transfixed on this alien figure and you find yourself hanging on his every word (Pun intended).

Gore: I first saw this film as a rental in 1988. Within the first three minutes we see this guy getting tortured by a legion of free floating barbed chains. I was hooked from that point on. It was that one simple technique that turned me on to the world of gore and made me a true horror fan for life. The most accessible splatter that we see is the slow regeneration of Frank. This is exceedingly well done considering that director Clive Barker didn’t have enough quarters to fill someone’s asshole. Even when watching it today I don’t find it dated or cheesy looking. The gore is really kicked into high gear when we see all of the Cenobites in plain view. These guys are just fucking nasty looking. Who would’ve thought that a group of characters designed as a cadre of demonic lost souls would soon inspire a fashion trend? Then of course we have the over the top death of Frank. This is a brilliant scene and is hands down one of the most gruesome deaths I’ve seen in a movie to date. The final death of Frank is slightly edited in Hellraiser, but you can see a fleshier version in the flashback sequences at the beginning of Hellbound: Hellraiser II.

Guilty Pleasures: Gosh darn it, there’s just something about pasty-faced bald bitches with sticks in their faces that turns me on! There’s a slight bit of nudity but its barely noticeable. We see Clare Higgins in a lovemaking scene with Frank. This shows off Clare’s butt as well as one nipple. Frank’s not exactly discreet himself in this scene. There are also some photographs of Frank with various nude women.

The Good: This film kicks ass! No shit, this is probably one of the most well done low-budget horror flicks to ever come out of England. This is the one that made Clive Barker a household name. Every time I watch it I draw something from it that I never noticed before. I never get tired of this flick.

What sets this movie apart from most other horror films of the 80s is the perspective of the Cenobites. Although they are demons from Hell, they’re not really bad people. Which is to say, they are not the true antagonists of this story. (Some people have even accused them of being angels.) They only come when called and they are there to serve a specific purpose. I love how Barker illustrates the excesses of Hell as being so overwhelming that the human brain does not know how to translate the signals it is receiving. A living person cannot experience such a thing because our brain would automatically shut down at the first sign of stimuli that it cannot perceive. But in Hell, there is no death (per se) and as such the body is subject to sensations that it never knew before. Frank makes mention of this himself in one of my favorite lines from the movie. “Pain and Pleasure…indivisible.” So true. So true. I would imagine that experiencing the divine faculties of Hell is not that dissimilar to eating a double decker supreme from Taco Bell. It looks like a shit sandwich and you know that you’re going to pay the price for it later, but it tastes oh-so-good going down. I figure Hell is a little bit like that. In either case, I would imagine that is why the Cenobites appear to be so indifferent to the corporeal world. Typically demons are wild jumping cackling creatures who clamor on and on about your soul. But these guys are all business. They are cold calculating creatures that long ago shed their mortality. The pleasures of Hell became so great for them that it actually creates a malaise in their general disposition. Kinda like lawyers.

The mystery of the Cenobites is kept in careful check here. There is very little information given about them other than the fact that they were once human. The Female Cenobites laments over how miserable human existence is as if Hell were bliss eternal. Pinhead always has something stoic to say and in comparison to horror movie contemporaries Freddy Krueger, Jason Voorhees, Michael Myers and Leatherface, he really IS quite the chatterbox. Butterball and Chatterer don’t say shit and I get the impression that they are of lower rank than Pinhead or even the female. We also get to see that even in Hell, there’s a system of checks and balances. The Engineer seems to be the grand general of the entire Cenobite gig while lesser servants such as the homeless man keep the box in play at all times. He’s gotta make sure its always in circulation so that it can lure more potential victims.

All right, enough about the Cenobites, let’s get back to the others. I love the dynamic of the entire Cotton family. These guys are even more dysfunctional than the panelists on an episode of Jerry Springer. Frank is clearly a bad mutha-fugga. He dominates Julia so easily that he’s got her doing anything he wants her too. Brotha must be SWINGING in order to exhort THAT kind of total control over a person. Julia pretends at being a power player but Frank whittles her down quite easily. She wears her professional suits and her upper-class whore hair and speaks down to everyone else in the room. But when Frank enters the scene she turns to jelly. I also love the differences between the brothers. Frank is all about sex and violence and power while Larry is a squeamish little worm of a man. There’s an interesting scene where we see both brothers release their pent up aggressions. Larry is REALLY getting into watching this boxing match. So much so that he even begins to pantomime the fighters while watching the TV. Simultaneously, Frank is hammering around in the upstairs attic. Although the scene may seem superficial at first, it is actually the most revealing element in the whole movie regarding the characterization of the three primary characters (Larry, Frank and Julia).

And now we have Kirsty. Kirsty seems to be an amalgamation of all the other characters. She has her father’s soft-spoken nature but her temperament is also quite similar to that of Frank. We get to see more of Kirsty’s aggressive side in Hellraiser II: Hellbound. She’s also pretty ballsy. Most other horror movie heroines would simply turn into a blubbering mass of useless flesh at the first sign of a Cenobite, but not Kirsty. Nope. She’s scared out of her gourd but still finds the wherewithal to bargain with them. I also get the impression that Frank and she share a past together. Maybe it’s just me, but I feel as if he may have molested her at some point. It’s that whole “Come to Daddy” line and the way that he touches her face. It just screams pedophile. Ahhh…I’m probably just reading too much into it.

One of the primary ingredients that makes Hellraiser so strong is the intense music score by Christopher Young. Young’s work is probably the single best music composition that I have ever heard in a film. His pieces bring the Hellraiser environment to a plateau that makes it grandiose and epic. As well it should. After all, this is the story of a guy who has LITERALLY been to Hell and back. It SHOULD be epic in scope. This guy has contributed music to over 70 different name brand films, but nothing comes close to his work on Hellraiser. It’s atmospheric, creepy, moody and a number of other fancy adjectives as well. The soundtrack to the first film is fairly difficult to find as it was only released in Britain, but if you ever manage to get your hands on it, you will find that you’ve got yourself a real gold mine.

Hellraiser is the definitive movie of truth and consequences. There are no winners where Hell is concerned. Although it’s considered a favorite amongst genre fans, I’m surprised this movie hasn’t found its niche in the minds of mainstream audiences. While I wouldn’t necessarily classify Hellraiser as a cerebral film, it certainly offers a lot more brain-food than your typical slasher fare. This is an excellent movie and I cannot stress enough how much you NEED to go out and watch this flick. Hell, don’t just watch it…buy it! Buy it on VHS, Beta, Laserdisc, VCD and DVD! I don’t care if you don’t have platforms for all of those formats. Buy them anyway!

The Bad: The worst aspects of Hellraiser come in the 3rd act. You can pinpoint precisely where it was that Clive Barker ran out of money. He pretty much shoots his load after the death of Frank and at that point the audience has to sit through all of the final wrap-ups. These were actually handled kind of clumsily and I feel that Hellraiser became your ‘typical’ horror movie at this point. The Cenobites are all over the house and they seem to have no other purpose than to stand around looking spooky. Chatterer even puts a veil over the top of his head in order to heighten his personal creepy factor. (As if he weren’t ass-ugly enough!) This isn’t an episode of Scooby Doo Chatterer! You don’t need to put the ghost-sheet over your head. It’s not like skinless Frank is going to come back and say “I would have gotten away with it too if it weren’t for these darned Cenobites.”

The final scenes are also a tad ambiguous. After Frank dies, the house begins to fall apart. Why? I realize that Lady Baldbitch was tearing her hooks through the walls, but surely the framework is made of sterner stuff than that! What the fuck is making the house fall apart? There’s also a part where we bring the Engineer back. Although he’s supposed to be the primo baddy of the Cenobite scene, I’ve always felt he looked kind of cheesy. Too many close ups of his face easily reveal him to be the cheap plastic monster that he is. Personally, I wouldn’t have been all that scared of him. He looks like a big jumbo shrimp. Throw him in a glass filled with horseradish and make a cocktail out of his ugly ass. (Bubba from Forest Gump would have had a field day with this critter.)

I also thought the Cenobites went down like punks. Kirsty became a little too proficient with the box a little too quickly. At every turn all she needed to do was point the thing at the offending villain and a bunch of squiggly little neon lines would come out and attack the Cenobites (Returning them promptly to their personal micro-dimension inside the box). This whole scene appeared extremely rushed and very lazy. It didn’t work out well at all.

After all of this, the Cotton house burns to the ground. Again, I’m not quite clear as to why this happened. I suppose I could make up some sort of wild and wacky explanation, but this is the sort of question I would prefer to have answered by Barker himself. At the end we see Kirsty and Steve standing around the embers like a bunch of hobos in front of a doo-wop barrel. Is this supposed to be the remains of the house or is this some abandoned car lot? The reason I ask is because of the geography. In the background you can see some sort of industrial center, which was not visible in the pre-fire house scenes. It looks like it was shot on a completely different location. I’ve listened to the audio commentary on the Hellraiser DVD and even Clive Barker and Ashley Laurence didn’t seem to have a clue as to what was going on here.

And speaking of locations, where in the hell is this supposed to take place? Hellraiser was based on the Hellbound Heart a short story of Barker’s. In the story, it plainly states that the house at 55 Lodovico Street is located in London England. Likewise the film was shot in London. But I can’t help thinking that it’s supposed to be an American town in the film. Most of the periphery characters are American and one of the extras is even seen wearing a New York Yankees hat. Hellraiser II pretty much cements it as far as my America theory. In that film we are introduced to a character named Ronson who is your stereotypical NBC must-see TV crime drama detective. He’s not a member of Scotland Yard and he doesn’t carry a baton or a stop sign. So I can only assume that he’s American. It’s a small detail I know, but its always one that has niggled at my loins.

And speaking of niggled loins, can someone please explain to me what the fuck is the purpose of the Steve character? This guy does absolutely NOTHING! I mean it. Other than eye-spraining fashion sense he contributes dick-shit to this film. I thought for sure he was going to be one of Julia’s victims. Hell, at least then his body would have been put to better use in death than it ever was in life.

Another loin niggler comes in the form of the homeless guy. I understand now that he is meant to be the guardian of the puzzle box, but from a first-viewing perspective he comes off as little more than a reject from a Jethro Tull album cover. Why does he keep stalking Kirsty? Kirsty doesn’t have the box at this point so it makes little sense that this guy would follow her around. And what was the point of eating all the crickets? I guess this guy was just thrown in as an errant ‘boo’ man. Although he is tres creepy, they could have easily done the film without him. Maybe if Clive hadn’t hired the actors to play the bum as well as Steve he might have been able to invest an extra 20 bucks in the lame-o light show at the end.

Oh well. Don’t sweat the small shit. Just watch the movie up until the point where Frank dies and then turn the TV off. This is a fucking great film.

Great Lines:

“I thought I'd gone to the limits. I hadn't. The Cenobites gave me an experience beyond limits... pain and pleasure, indivisible.” --Frank describing Hell to Julia.

“Explorers in the further regions of experience. Demons to some. Angels to others.” –This is probably what it says on Pinhead’s job resume under ‘Other hobbies’.

“No tears, please. It's a waste of good suffering.” --Pinhead reacting to Kirsty.

“Jesus wept.” --Frank Cotton’s final words before being shredded by the chains of Hell.

“What’s your pleasure Mister Cotton?” --The foreign broker from whom Frank purchased the puzzle box.

“You solved the Box. We came. Now you must come with us. Taste our pleasures.” --Pinhead talking to Kirsty.

“We have such sights to show you.” --Pinhead (Again).

“Come to Daddy.” –Frank says this on to Kirsty on two separate occasions.

“You want it? You want it? Here! Fucking have it!” –Kirsty teasing Frank with the puzzle box before throwing it out the window.

Overall Rating: 9 out of 10 severed heads. It breaks my heart not to give my favorite flick the 10 head rating. But alas, there are enough flaws in the flick to knock it down a notch.

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